This thesis analyzes the representation of Kazakhstan as a multiethnic nation in contemporary Kazakhstani cinema. Although much has been made of how the state has attempted to build the image of...Show moreThis thesis analyzes the representation of Kazakhstan as a multiethnic nation in contemporary Kazakhstani cinema. Although much has been made of how the state has attempted to build the image of Kazakhstan as inherently multiethnic, in focusing on film, this thesis hopes to go some way to exploring the representation of Kazakhstani mnogonational'nost' (multinational-ness) at the popular level. In doing so, the thesis argues that there are several competing representations of 'multiethnic Kazakhstan'. One, arguably the more prominent, represents Kazakhstani mnogonational'nost' in a totalized, essentialized and depoliticized manner reminiscent of Soviet categories of nationality. Other emerging representations, meanwhile, appear to offer more complexity.Show less
This master thesis focusses on four internationally acclaimed Russian films, namely The Major (Major, 2013) and The Fool (Durak, 2014) by Yuri Bykov, and Leviathan (Leviafan, 2014) and Loveless ...Show moreThis master thesis focusses on four internationally acclaimed Russian films, namely The Major (Major, 2013) and The Fool (Durak, 2014) by Yuri Bykov, and Leviathan (Leviafan, 2014) and Loveless (Nelyubov’, 2017) by Andrei Zvyagintsev. These films have been subject of controversy within Russia, and have often been associated with chernukha; a naturalistic, dark and cynic trend that first appeared in public discourse during the late 1980s. By analysing these four films and discussing the public debate surrounding them, this thesis focusses on the continuity and discontinuity in both socio-critical Russian films and the criticism on these films.Show less
This thesis set out to study Andrei Kurkov’s role as a writer within Ukraine’s alleged postcolonial condition. Firstly, I analysed the relationship between Ukraine and postcolonialism with regard...Show moreThis thesis set out to study Andrei Kurkov’s role as a writer within Ukraine’s alleged postcolonial condition. Firstly, I analysed the relationship between Ukraine and postcolonialism with regard to Russia. Secondly, I applied this theoretical framework, especially the concept of hybridity, on the public statements and political opinions of Andrei Kurkov. This thesis has found that Andrei Kurkov fits perfectly the postcolonial frame and can be called a postcolonial writer. The main feature which defines him as such is the fact that he promotes the official recognition of the Russian language as a Ukrainian specificity. Such proposition aims at solving mechanisms of cultural dependency between Ukraine and Russia. Ultimately, I argue that this recognition can positively influence the role of Russian-speaking writers in Ukraine.Show less
This thesis desires to undertake an analysis of Russian cinematic portrayals of Grigory Rasputin. It attempts to build upon David Gillespie's conviction that the Russian historical film is just as...Show moreThis thesis desires to undertake an analysis of Russian cinematic portrayals of Grigory Rasputin. It attempts to build upon David Gillespie's conviction that the Russian historical film is just as apt at detailing the present as the past, and so the analysis of each film hopes to highlight how the relevant portrayal of Rasputin can also reflect the political intricacies around the time of the film's production. The thesis first looks at Elem Klimov's film 'Agonia' from 1975. It then details Irakli Kvirikadze's 2012 film 'Rasputin.' Lastly, the thesis sees an analysis of Andrey Malyukov's 8 part TV series entitled 'Grigory R' from 2014.Show less
This thesis investigates the topics of female consciousness and identity through the case studies of three Russian films: Intergirl (1989), The Country of the Deaf (1998), The Spot (2006). Firstly,...Show moreThis thesis investigates the topics of female consciousness and identity through the case studies of three Russian films: Intergirl (1989), The Country of the Deaf (1998), The Spot (2006). Firstly, relevant theories and secondary literature will be presented regarding topics such as: gender discourse in Russia, female consciousness and identity, the cinematic role of the Gaze as well as the metaphor of the Prostitute. In the Methodology section, the reader will be introduced to the approach of social semiotics analysis of film. The main body of the thesis consists of three chapters focused on the close-reading of the case studies. Finally, this thesis will provide a conclusion detailing my own observations in relation to previous research.Show less
This thesis investigates the reappearance of the Russian prison camp memoir. It investigates how these contemporary prison camp memoirs are connected to prison camp writing from the past. I used...Show moreThis thesis investigates the reappearance of the Russian prison camp memoir. It investigates how these contemporary prison camp memoirs are connected to prison camp writing from the past. I used the contemporary prison camp memoirs of Maria Alyokhina (2017) and Ildar Dadin (2018). Both were political prisoners, convicted in politically motivated trials, and served sentenced in the modern day system of Russian penal colonies. Their memoirs are a product of the growing repression that takes place under president Vladimir Putin. Russia has a long tradition of prison camp writing. The contemporary prison camp memoirs recall this past, and are therefore looked at in the context of this tradition, especially that of Gulag memoir writing. The thesis first looks at the most important aspects of the narratives of the contemporary memoirs, which they share with Gulag memoirs (retrospect, testimonial function and a bi-functionality). Secondly it investigates the structure of the narratives, and how these share the four morphological features of Gulag memoirs as formulated by Leona Toker, who analyzed the corpus of Gulag memoirs. Thirdly, it explores how the authors of the contemporary prison camp memoirs inscribe their memoirs in the tradition of Russian prison camp writing, and how they deploy the past in their narratives about the present.Show less
Becoming posthuman does not mean letting go of all human ethics. Rather, the posthuman turn is about a pluralisation of perspectives, which does not mean a negation of the human perspective. The...Show moreBecoming posthuman does not mean letting go of all human ethics. Rather, the posthuman turn is about a pluralisation of perspectives, which does not mean a negation of the human perspective. The cases of late Soviet science fiction (Solaris, Roadside picnic, Solyaris, and Stalker) contain elements of the posthuman turn. Although their makers were informed by different worldviews, in all four cases the concept of the human and human mastery are challenged by the unsolved and unsolvable mystery of non-human agency.Show less
The Decembrist movement produced a large quantity of civic poetry with utopian elements, but hardly any full-blown and self-contained literary utopias. This is surprising given the utopian ideals...Show moreThe Decembrist movement produced a large quantity of civic poetry with utopian elements, but hardly any full-blown and self-contained literary utopias. This is surprising given the utopian ideals of its adherents and sympathizers. One of them, Vil’gelm Kjuxel’beker, produced two short utopian stories, i.e. European Letters and The Land of the Headless. Obscure and seemingly unfinished as these works are, they have hardly received any serious scholarly attention. In my thesis, I argue that these works are certainly socially relevant, and should be interpreted as patriotic documents that reflect the Decembrist discourse. European Letters, written in 1819, paints a rosy picture of Russia’s future, which has become the world’s superior civilization after Europe and America and is inhabited by morally perfected human beings that remind one of the “new man.” On the eve of the Decembrist revolt, when the initial naïve optimism had disappeared, Kjuxel’beker wrote a second, negative utopia under the title The Land of the Headless. This work criticizes trends in contemporary Russian society, satirically exaggerating their possible harmful consequences and pleaing for national self-liberation and preservation of the (patriarchal) national traditions.Show less
In 2005 werd literair Rusland wakker geschud met de publicatie van Pathalogieën, een roman die in het teken staat van de tweede Tsjetsjeense oorlog. De toen nog onbekende auteur Zachar Prilepin,...Show moreIn 2005 werd literair Rusland wakker geschud met de publicatie van Pathalogieën, een roman die in het teken staat van de tweede Tsjetsjeense oorlog. De toen nog onbekende auteur Zachar Prilepin, zelf een veteraan van de Tsjetsjeense oorlogen, maakte onmiddellijk naambekendheid en brak met zijn volgende twee romans Sankja (2006) en Zonde (2007) definitief door in Rusland. Parallel naast zijn schrijverschap groeide Prilepin vervolgens uit tot een populaire, maar controversiële publieke persoonlijkheid binnen het Russische medialandschap. Een belangrijke factor van Prilepins overdonderend succes is zijn imago van traditionele en ‘echte’ Russische man, dat gevoed wordt door zijn verleden als elitesoldaat in Tsjetsjenië, zijn nationalistische overtuigingen en zijn voorkomen van conservatieve familieman. Met dit imago lijkt Prilepin te beantwoorden aan het mannelijkheidsideaal dat in voege getreden is in Poetins Rusland, i.e. de moderne moezjik en dat gekenmerkt wordt door viriliteit, patriotisme en uitgesproken heteroseksualiteit. In tegenstelling tot hun geestelijke vader zijn de helden uit Prilepins vroege proza (Pathalogieën, Sankja en Zonde) echter geen vertegenwoordigers van dit ideaaltype. Ze worden in tegendeel gekenmerkt door onzekerheden en angsten, neigingen tot (zelf-) destructie, emotionele kwetsbaarheid en ze dragen een verward vaderlandsbeeld met zich mee. Hierdoor lijkt Prilepin komaf te willen maken met het keurslijf van de moderne moezjik en te pleiten voor de ontmanteling ervan.Show less
